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Funny because it's true. From the creator of the viral sensation "10 Tricks to Appear Smart in Meetings" comes the must-have book you never knew you needed, 100 Tricks to Appear Smart in Meetings. In it, you will learn how to appear smart in less than half the time it takes to actually learn anything. You know those subtle tricks your coworkers are all guilty of? The constant nodding, pretend concentration, useless rhetorical questions? These tricks make them seem like they know what they’re doing when in fact they have no clue. This behavior is so ingrained, so subtle, and so often mistaken for true intelligence that identifying it, calling it out, or compiling it into an exhaustive digest has never been attempted. Until now. Complete with illustrated tips, examples, and scenarios, 100 Tricks gives you actionable ways to use words like “actionable,” in order to sound smart. Every type of meeting is covered, from general meetings where you stopped paying attention almost immediately, to one-on-one meetings you zoned out on, to impromptu meetings you were painfully subjected to at the last minute. It’s all here. Open this book to any page and find an easy-to-digest trick with an even easier-to-digest illustration, guiding you on: how to nail the big meeting by pacing and nodding most effective ways to listen to your coworkers while still completely ignoring them the key to making your presentations “interactive.” If you hadn’t noticed these behaviors before, you will see them now—from your colleagues, your managers, and soon yourself. Each trick is a mirror to the reality of what happens in meetings, told in the form of hilariously bad advice—advice that you might just want to take. But probably not. But maybe.
In this final volume on emptiness, the Dalai Lama skillfully reveals the Prasangikas’ view of the ultimate nature of reality so that we will gain the correct view of emptiness, the selflessness of both persons and phenomena, and have the means to eliminate our own and others’ duhkha. In this last of three volumes on emptiness, the Dalai Lama takes us through the Sautrantika, Yogacara, and Svatantrika views on the ultimate nature of reality and the Prasangikas’ thorough responses to these, so that we gain the correct view of emptiness—the selflessness of both persons and phenomena. This view entails negating inherent existence while also being able to establish conventional existence: emptiness does not mean nothingness. We then learn how to meditate on the correct view by cultivating pristine wisdom that is the union of serenity and insight as taught in the Pali, Chinese, and Tibetan traditions. Such meditation, when combined with the altruistic intention of bodhicitta, leads to the complete eradication of all defilements that obscure our minds. This volume also introduces us to the tathagatagarbha—the buddha essence—and how it is understood in both Tibet and China. Is it permanent? Does everyone have it? In addition, the discussion of sudden and gradual awakening in Zen (Chan) Buddhism and in Tibetan Buddhism is fascinating.
“This literary thriller's complex narrative involves a cursed house, an unsolved murder and impeccable writing.” —The New York Times Book Review • The basis for the Netflix film Things Heard and Seen Recent transplants to the small town of Chosen, New York, the Clares have not received the warmest welcome; once a thriving dairy farm, their home is haunted by the tragedy that left the former owner’s three sons orphaned and adrift. Late one winter afternoon, professor George Clare knocks on his neighbor’s door with terrible news: he returned from work to find his wife, Catherine, murdered in their bed. Someone took an ax to her head while their three-year-old daughter, Franny, played alone in her room across the hall. As one dark secret peels away to reveal others—and as the Clare marriage reveals itself to have a sinister darkness that rivals the farm’s history—Elizabeth Brundage offers a rich and complex portrait of the scars that can haunt a community for generations and the dark longings inside each and every one of us that drive us to do inexplicable things.
Dr. Mikhail “Misha” Budnikov takes one look at fellow fencer Ryan O’Connor and instantly knows his type. The undisciplined hothead is all ego with no finesse and even less control. In short, Misha’s pet peeves personified. To put the arrogant kid in check, Misha challenges him to a sparring match, which he predictably wins. Not so predictably, Ryan asks him to be a mentor and show him how to fence. Startled by the moment of humility, Misha agrees. What begins as fencing lessons becomes something much hotter, and before they know it, Misha is giving Ryan an entirely different kind of education. Dominance, submission, pain, pleasure—at the hands of an older, experienced man, a whole new world is opening up for Ryan. As the trust deepens and their bond strengthens, though, Ryan retreats because that sham called love left him jaded long ago. Cynical beyond his years, he’s not letting his guard down, least of all for a thrice-divorced man twice his age. Now Misha has to find a way to crack through those defenses…or accept defeat and walk away from the submissive who might just be the love of his life. This Las Palmas Fencing Club novel is approximately 120,000 words and can be read as a standalone.This M/M romance has an age gap, over 40, class differences, and lots of sexy, kinky heat with all the feels.
With a lucrative freelance career and a loving family, Deborah Earle has a life many women would envy. But her daughter, Amanda, is heading to college soon, and Deborah worries about having an empty nest. She thinks another child might be the answer. Her husband, Richard, however, may not be willing to start over so late in life. Amanda is excited about attending NYU next year, but she meets Graham, a handsome older boy, falls hard, and considers postponing her education to stay close to him. Her mother takes an instant dislike to Graham, but Amanda refuses to let her keep them apart. As Deborah watches her daughter rush headlong toward heartache on an all-too-familiar path, the secrets lurking in Deborah’s past continue to echo in her present. When tragedy strikes, Deborah faces a future she could never have imagined.
At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early ’90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.
"This glossary is intended primarily to serve as an aid in the interpretation of maps of the East Indies and this limits its scope: the Dutch vocabulary is not complete for all Dutch-speaking areas, and the Malay and affiliated languages appear in Dutch orthography. The ninety-eight languages appearing in this compilation do not represent [...} all of the languages spoken: they merely constitute those that are used cartographically and for which dictionaries or glossaries are available."-- Introduction (page iii).